MARBLE WHITE	LINEN WHITE	DALE WHITE	OCHRE WHITE	ROMAN WHITE
SWEDISH WHITE	INDIAN WHITE	PANEL WHITE	GRECIAN WHITE	SIENNA WHITE
LEAD WHITE	WILTSHIRE WHITE	LINNET WHITE	CANDLE CREAM	PROVENCAL WHITE
TIN WHITE	ASH WHITE	CORNISH CLAY	YORK WHITE	UMBER WHITE
FLINT WHITE	CHILTERN WHITE	GREEN MARL	BATHSTONE BEIGE	PALE SEPIA
GREEN SLATE	QUARTZ GREY	GREEN UMBER	DARK STONE	BISCUIT BEIGE

This collection is based on the type and variety of colours used throughout the three periods and which would in the main be thought of as white. Frequently, small amounts of earth pigments such as ochres, umbers and red oxides were added to limewash in order to create warmer cream and beige shades, such as Provencal White, Candle Cream and Umber White.

In an exterior setting these allowed a building to 'sit' better in the landscape and blend in with it. Lamp blacks, ashes and clays were added in order to create cooler shades and soft greys such as Ash White and Lead White for a more classical look. Likewise, these work better on older buildings for door and window frames, especially when used in conjunction with deeper Heritage® front door colours.

In interior settings, many of the warmer shades such as York White and Biscuit Beige would have been used alone for halls, stairs and landings, where they would have been referred to as 'stone colour'. The cooler shades of grey and green such as Tin White and Chiltern White would have been highly suitable for south facing rooms and bedrooms where a light scheme was required.

Colour representation on-screen should not necessarily be taken as completely accurate.